literature. Palgrave, in the preface to "The Golden Treasury," significantly declares that he "has found the vague general verdict of popular Fame more just than those have thought who, with too severe a criticism, would confine judgments on poetry to 'the selected few of many generations.'"
Like Arnold, nearly all his famous peers of the recent composite period have made attractive experiments in the objective and antique fields, though less openly upon conviction. Yet Tennyson and Browning are essentially English and modern, as Emerson, Longfellow, Whittier, are American and New-English, while Lowell's memorable verse is true to the atmosphere, landscape, national spirit, dialect, of his own land, and always true to his ethical convictions. Our minor artists in verse succeed as to simplicity and sensuousness in their renaissance work, but fail with respect to its passion,—for to simulate that requires vigorous dramatic power. The latter is rarely displayed; its substitute is the note of Self. If this be so, let us make the best of it, and furnish striking individualities for some future age to admire, as we admire the creations of our predecessors. At all events, the poet must not dare anything against nature. Let him obey Wordsworth's injunction,
"If thou indeed derive thy light from Heaven,
Then, to the measure of that heaven-born light,
Shine, Poet! in thy place, and be content."
